Course Syllabus

Course Information

Creating TV and Movie Scripts

HUAS 6352.001
JO 4.122
7 – 9:45 p.m. Wednesdays

Professor Contact Information

Lecturer: Tony Daniel

darkestcoffee@gmail.com
Cell: (214) 677-5750
Office: JO 4.122
Hours: 6 to 6:45 p.m. Wednesdays
Please make an appointment

Course Pre-requisites, Co-requisites, and/or Other Restrictions

Graduate standing in Arts and Humanities, or permission from instructor.

Course Description

In this course, you’re going to write spec scripts. These will be for either two teleplays (television
show scripts) or a motion picture. The course is geared toward working with the sequence as
the basic dramatic unit in screenwriting. Furthermore, the course is based around a workshop
model. Everything we do will be directed toward each student turning out a minimum number of
bits, scenes and sequences each week in order to have either a television script or a feature-
length screenplay done by term’s end. We’ll discuss the basic elements of storytelling –
character, plot and setting – as a means to the end of scriptwriting. We’ll analyze a film or
television show from a writer’s perspective. In addition to individual work, we’ll write pitches,
treatments and outlines as part of a team project. In addition to issues of art and craft, we’ll also
touch on the business of writing for the screen and television.

The class period will usually be divided into two segments, and both will be highly participatory.
We’ll normally begin by workshopping individual writing, which will normally be a sequence – a
series of bits and scenes connected by the logic of storytelling to form a dramatic unit (don’t
worry, we’ll get into all that). After that, we’ll discuss and develop our team projects (more on this
later.)

Students will be required to make copies of their work at their own expense for distribution to the
class, so budget that in. Student attendance and preparation are necessary for the class to
function, so expect to spend several weekly hours outside of class reading the work of others as
well as writing your own scenes and sequences. With sufficient engagement, the course should
prove an excellent tool for the journeyman screenwriter to use to improve his or her work and
reach a new plateau on his or her professional path.

Course Syllabus Page 1

Student Learning Objectives/Outcomes

Learning Objective and Outcome Overview

The course will revolve around students writing steadily, working this writing into a
classic three act structure during the whole of the term and, by term’s end,
amalgamating this raw material into a draft of a spec screenplay or two teleplays. This
may sound like a big task, but it is well within your reach. In order to produce the
amount of words required, a good strategy is to write about three pages a day during a
five-day week. Saving one’s “weekly pages” up until the night before class is not a good
strategy. While professional writers have many methods to obtain production from
themselves, the “slow and steady” approach is one with which every budding
screenwriter should experiment – and this term will be your chance to do so.

You will be expected to write a minimum of fifteen professionally formatted script pages
each week. In addition, you’ll turn in several revised drafts of different scenes and
sequences over the course of the term after workshopping them with the class. It is
upon these revised sequences that the bulk of your grade will depend. Here’s the
grading breakdown:

· 75% original work.

· 25% critique of the work of others.
· 25% writing exercises and team projects.

75 % ORIGINAL WORK, INCLUDING:

20 % MINIMUM PAGE REQUIREMENT

· 15 script pages per week. No maximum. These by no means have to be

polished and complete works, but had better not be two characters saying to
each other “I can’t think of anything to say” 358 times). It also must be dramatic
writing, not a journal entry, a short story, or a personal essay. It can sometimes
be work on a pitch or treatment, with prior approval by me.

o Late doesn’t count.

o Partials do count in 2-page increments. Round down.
o Unless this is a completed scene for workshopping, you only need to print
these weekly pages out for the instructor, not the entire class.
o Weekly page submissions should be formatted as a professional
screenplay with a title and your by-line at the top.
o Remember, only the instructor will see your weekly pages, so don’t panic
if you have a block that week and they are not your most stellar work.

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 o Your weekly pages will not be graded other than for length (unless they
are wildly unrelated to what you’re working on), and I may or may not
comment on them.

WHY THE SEEMINGLY ARBITRARY QUANTITY REQUIREMENT?

Why not, instead, concentrate on a single silver bullet opening teaser all term long or
work on several short script “one-acts”? Isn’t quality far more important than quantity?

Of course it is. There are two answers. First, the course is not geared toward producing
immediately sellable work. It is intended to make you a better writer by pushing you on
your weaknesses and working to further develop your strengths. Second, more than
one highly-regarded writer has noted that it often takes writing ten or so specs in order to
get good and to be able to summon one’s talent on command. You’ll be on your way
toward this goal by course’s end. Finally, the course is geared toward professional
scriptwriting, not writing for the stage. Writing one acts is generally a ticket to oblivion in
film and television.

THE WEEKLY PAGES EXCEPTIONS

On weeks when you:

· Turn in first draft of a sequence: no weekly pages needed.

· Turn in revised draft of a workshopped sequence: Counts as ten pages. Five
more pages needed. HINT: those 5 pages are a good way to start your next sequence.

50% REVISED DRAFTS

· To be turned in over the course of the term, usually the week following its
workshop critique.

· REMEMBER: Revised drafts count ten pages toward your weekly pages. You
still have to do five additional pages for the weeks on which you turn in a revised
draft.

THE FIRST DRAFT SEQUENCE FOR WORKSHOP

· These must be photocopied and distributed to the class the week prior to
workshopping. You are responsible for photocopying enough for everyone!
· Although first drafts aren’t evaluated as part of your grade, in order to get to a
revised draft -- which is graded -- you obviously have to have had a sequence
workshopped the week before. The whole point of the instructor’s not grading
first drafts is for you to turn something in without feeling it must be at an
advanced stage of completion.
· We will establish a schedule for individual sequence due dates at the first class
meeting.
· In general, expect to turn in a sequence every two to three weeks.

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 · Sequences should be at minimum 15 to 20 pages. Often, they might be longer.
· More importantly, they ought to form a coherent dramatic unit.
· If you have opted to write a teleplay or teleplays, they should compose at least
one act of the teleplay format (which we’ll discuss), and possible more.
· At the end of the term, you will be required to have written the revised draft
of a screenplay or teleplay, and you’ll turn that in as your “final.” You may
opt to write a second teleplay.

A FEW NOTES ON TELEPLAYS AND SCREENPLAYS

· In general, a teleplay is 45-55 pages, composed of four acts and a teaser.

· In general, a screenplay is 90 to 120 pages.
· Teleplays are shorter, but are more “sonnet-like” in that they have a pre-
determined format.
· For a teleplay spec for an existing television show, you will need to know
the show -- backward and forward. We will discuss this choice, don’t
worry.
· Both options will, in the end, require roughly equal amounts of effort.

The Choice: Screenplay or Two Teleplays?

Of the two teleplays, there should be:

o 1 original
o 1 that is based on a current series.

The single screenplay may seem to be the easier option at first glance, but it will require
a large time commitment on a single project (all term long), and at least as much work as
the teleplays -- and likely more as you flesh out character background, etc.

A teleplay will require you to watch a lot of television (which may be a good or bad thing,
depending on how you feel about a particular show), and possibly purchase a DVD
collection of past seasons.

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 FORMAT FOR SEQUENCES

· All sequences must conform to standard screenplay format. Download the MS

Word template for working in this format from the class’s WebCT page or use
Final Draft or an equivalent screenplay writing program. No exceptions here.
· All must have a title and by-line at the top.
· Sequences should be stapled or paper-clipped.
· Photocopies may not be double-sided.
· Everything must be crisp and legible.
· Be sure that all grammatical inconsistencies and misspelled words are deliberate
on your part.

ADDITIONAL NOTES

· Sequences probably should be, but are not required to be, developed from your
ten weekly pages.
· Turning in a sequence for workshopping counts as your weekly pages for that
week -- unless it is merely a slight reworking of previous work and obviously
didn’t require much additional effort. I’ll know. If so, then treat it as a revision
and turn in an additional five pages.

25% CRITIQUE OF OTHERS

We’ll discuss how to workshop the writing of others in some detail. Here are three
important things to remember:

THE WORKSHOP

· Look for what the other person is trying to do with his or her story, characters,
and dramatization and visualization, and help him or her do it better. Do no
ask another writer to rewrite or re-conceive his or her work as you would have
written it.

· When you critique the work of others, you are teaching yourself how to write
better. By dissecting somebody else’s dramatic writing, you are learning how
to take a more objective editorial eye to your own. Every moment you spend
critiquing another’s work, however disagreeably bad or brilliant you may think
that work to be, is simultaneously time well-spent developing your own work.

· Workshopping is a proven method that has turned out many fine professional
writers – many of whom swear by it. Sounds perhaps like the promise of a
weight loss program, but if you thoroughly engage yourself the process has a
multiplying effect that can take years off the time it will take you to develop as
a professional screenwriter.

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25% WRITING EXERCISES AND TEAM PROJECTS

Writing exercises: These will often be individually determined, and some will be timed
and in-class. The exercises may include: structural imitation exercises, scene transition
development, work in other genres, and, generally, exercises aimed at the development
of the various building blocks of visual, dramatic storytelling.

Team projects: Scriptwriting, particularly for television, is often a highly collaborative

process. Screenwriting involves constant pitching of ideas to various story development
people. We’ll develop some group pitches and treatments to hone these skills. It’s part
of the trade of screenwriting, and everyone, even the greatest film artistes, pitch and
develop treatments as part of their work.

FURTHER NOTES ON GRADING AND EVALUATION

· Obviously, you cannot pass the course without turning in completed revised
drafts. I’ll expect a minimum of four “scene and bit” sequences from screenplay
writers, or four acts from teleplay writers over the course of the term.

· There is no penalty, and every opportunity, for you to write more than is required.
In fact, you really should do so if you want to do well in the course. We’ll all read
it. But a caution: finishing what you start is far more important than
indiscriminate production.

Required Textbooks and Materials

· Story Sense, by Paul Lucey (note: Lucey is my old screenwriting teacher from
USC, and the book is pure gold for storytellers. READ IT.)

NOTE: Students are required to make legible photocopies of their first draft sequences
at their own expense for distribution to the class.

Assignments & Academic Calendar

· Sequences due per individual timetable. 4-7 revised sequences of average

length should be your goal (which means 4-7 turns in the workshop).
· Revised drafts usually due week following that story’s workshop critique.
· Last class: December 3.
· December 10. Final projects due. Turn in your completed first draft screenplay
or two teleplays.

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Weekly Pages Summary

Fifteen pages due at the beginning of class each week. Exceptions:

0 pages due when turning in strongly reworked first draft for subsequent workshop.
5 pages due when turning in a story or chapter revision after workshop.

Partials do count on weekly pages, so get in as much as possible each week. Page
count is in two-page increments. Round down.

Course & Instructor Policies

Instilling steady production is a major goal of the course, so late weekly pages do not
count. Weekly pages are also how attendance is taken. Again, partials do count on
weekly pages, so get in as much as possible each week.

Attendance is not mandatory, but missing a three-hour class without an excuse will
obviously substantially lower your grade.

Instructor is available for individual consultation. Please make an appointment.

There are no exams.

Plagiarism or aiding and abetting plagiarism is impossible to get away with in a film
writing course. Violators will be shamed on national television by Oprah. Plagiarism is,
in fact, serious business and will result in severe academic disciplinary action. I have,
unfortunately, had to do this to a student before…

IMPORTANT: When you turn in your final projects, please provide me with a self-
addressed envelope stamped with the appropriate postage (weigh envelope and story
together on a postal scale and affix the right amount of stamps to make it first class) so
that I can return you final submissions with notes. Information on how to figure postage
can be found at: http://postcalc.usps.gov/.

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Field Trip Policies
Off-campus Instruction and Course Activities

Off-campus, out-of-state, and foreign instruction and activities are subject to state law and
University policies and procedures regarding travel and risk-related activities. Information
regarding these rules and regulations may be found at the website address
http://www.utdallas.edu/BusinessAffairs/Travel_Risk_Activities.htm. Additional information is
available from the office of the school dean. Below is a description of any travel and/or risk-
related activity associated with this course.

Student Conduct & Discipline

The University of Texas System and The University of Texas at Dallas have rules and regulations
for the orderly and efficient conduct of their business. It is the responsibility of each student and
each student organization to be knowledgeable about the rules and regulations which govern
student conduct and activities. General information on student conduct and discipline is contained
in the UTD publication, A to Z Guide, which is provided to all registered students each academic
year.

The University of Texas at Dallas administers student discipline within the procedures of
recognized and established due process. Procedures are defined and described in the Rules and
Regulations, Board of Regents, The University of Texas System, Part 1, Chapter VI, Section 3, and
in Title V, Rules on Student Services and Activities of the university’s Handbook of Operating
Procedures. Copies of these rules and regulations are available to students in the Office of the
Dean of Students, where staff members are available to assist students in interpreting the rules and
regulations (SU 1.602, 972/883-6391).

A student at the university neither loses the rights nor escapes the responsibilities of citizenship.
He or she is expected to obey federal, state, and local laws as well as the Regents’ Rules,
university regulations, and administrative rules. Students are subject to discipline for violating the
standards of conduct whether such conduct takes place on or off campus, or whether civil or
criminal penalties are also imposed for such conduct.

Academic Integrity

The faculty expects from its students a high level of responsibility and academic honesty. Because
the value of an academic degree depends upon the absolute integrity of the work done by the
student for that degree, it is imperative that a student demonstrate a high standard of individual
honor in his or her scholastic work.

Scholastic dishonesty includes, but is not limited to, statements, acts or omissions related to
applications for enrollment or the award of a degree, and/or the submission as one’s own work or
material that is not one’s own. As a general rule, scholastic dishonesty involves one of the
following acts: cheating, plagiarism, collusion and/or falsifying academic records. Students
suspected of academic dishonesty are subject to disciplinary proceedings.

Plagiarism, especially from the web, from portions of papers for other classes, and from any other
source is unacceptable and will be dealt with under the university’s policy on plagiarism (see

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 general catalog for details). This course will use the resources of turnitin.com, which searches the
web for possible plagiarism and is over 90% effective.

Email Use

The University of Texas at Dallas recognizes the value and efficiency of communication between
faculty/staff and students through electronic mail. At the same time, email raises some issues
concerning security and the identity of each individual in an email exchange. The university
encourages all official student email correspondence be sent only to a student’s U.T. Dallas email
address and that faculty and staff consider email from students official only if it originates from a
UTD student account. This allows the university to maintain a high degree of confidence in the
identity of all individual corresponding and the security of the transmitted information. UTD
furnishes each student with a free email account that is to be used in all communication with
university personnel. The Department of Information Resources at U.T. Dallas provides a method
for students to have their U.T. Dallas mail forwarded to other accounts.

Withdrawal from Class

The administration of this institution has set deadlines for withdrawal of any college-level courses.
These dates and times are published in that semester's course catalog. Administration procedures
must be followed. It is the student's responsibility to handle withdrawal requirements from any
class. In other words, I cannot drop or withdraw any student. You must do the proper paperwork
to ensure that you will not receive a final grade of "F" in a course if you choose not to attend the
class once you are enrolled.

Student Grievance Procedures

Procedures for student grievances are found in Title V, Rules on Student Services and Activities,
of the university’s Handbook of Operating Procedures.

In attempting to resolve any student grievance regarding grades, evaluations, or other fulfillments
of academic responsibility, it is the obligation of the student first to make a serious effort to
resolve the matter with the instructor, supervisor, administrator, or committee with whom the
grievance originates (hereafter called “the respondent”). Individual faculty members retain
primary responsibility for assigning grades and evaluations. If the matter cannot be resolved at
that level, the grievance must be submitted in writing to the respondent with a copy of the
respondent’s School Dean. If the matter is not resolved by the written response provided by the
respondent, the student may submit a written appeal to the School Dean. If the grievance is not
resolved by the School Dean’s decision, the student may make a written appeal to the Dean of
Graduate or Undergraduate Education, and the deal will appoint and convene an Academic
Appeals Panel. The decision of the Academic Appeals Panel is final. The results of the academic
appeals process will be distributed to all involved parties.

Copies of these rules and regulations are available to students in the Office of the Dean of
Students, where staff members are available to assist students in interpreting the rules and
regulations.

Incomplete Grade Policy

As per university policy, incomplete grades will be granted only for work unavoidably missed at
the semester’s end and only if 70% of the course work has been completed. An incomplete grade
must be resolved within eight (8) weeks from the first day of the subsequent long semester. If the
required work to complete the course and to remove the incomplete grade is not submitted by the
specified deadline, the incomplete grade is changed automatically to a grade of F.

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Disability Services

The goal of Disability Services is to provide students with disabilities educational opportunities
equal to those of their non-disabled peers. Disability Services is located in room 1.610 in the
Student Union. Office hours are Monday and Thursday, 8:30 a.m. to 6:30 p.m.; Tuesday and
Wednesday, 8:30 a.m. to 7:30 p.m.; and Friday, 8:30 a.m. to 5:30 p.m.

The contact information for the Office of Disability Services is:

The University of Texas at Dallas, SU 22
PO Box 830688
Richardson, Texas 75083-0688
(972) 883-2098 (voice or TTY)

Essentially, the law requires that colleges and universities make those reasonable adjustments
necessary to eliminate discrimination on the basis of disability. For example, it may be necessary
to remove classroom prohibitions against tape recorders or animals (in the case of dog guides) for
students who are blind. Occasionally an assignment requirement may be substituted (for example,
a research paper versus an oral presentation for a student who is hearing impaired). Classes
enrolled students with mobility impairments may have to be rescheduled in accessible facilities.
The college or university may need to provide special services such as registration, note-taking, or
mobility assistance.

It is the student’s responsibility to notify his or her professors of the need for such an
accommodation. Disability Services provides students with letters to present to faculty members
to verify that the student has a disability and needs accommodations. Individuals requiring special
accommodation should contact the professor after class or during office hours.

Religious Holy Days

The University of Texas at Dallas will excuse a student from class or other required activities for
the travel to and observance of a religious holy day for a religion whose places of worship are
exempt from property tax under Section 11.20, Tax Code, Texas Code Annotated.

The student is encouraged to notify the instructor or activity sponsor as soon as possible regarding
the absence, preferably in advance of the assignment. The student, so excused, will be allowed to
take the exam or complete the assignment within a reasonable time after the absence: a period
equal to the length of the absence, up to a maximum of one week. A student who notifies the
instructor and completes any missed exam or assignment may not be penalized for the absence. A
student who fails to complete the exam or assignment within the prescribed period may receive a
failing grade for that exam or assignment.

If a student or an instructor disagrees about the nature of the absence [i.e., for the purpose of
observing a religious holy day] or if there is similar disagreement about whether the student has
been given a reasonable time to complete any missed assignments or examinations, either the
student or the instructor may request a ruling from the chief executive officer of the institution, or
his or her designee. The chief executive officer or designee must take into account the legislative
intent of TEC 51.911(b), and the student and instructor will abide by the decision of the chief
executive officer or designee.

These descriptions and timelines are subject to change at the discretion of the Professor.

Course Syllabus Page 10